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Padua Hills Theatre - Live Music Venue in Claremont

Padua Hills Theatre (1931-1974) was the longest running theater featuring Mexican-theme musicals in the United States. It operated as a non-profit business promoting intercultural understanding between European Americans and those of Mexican-descent.

Venue
Padua Hills Theatre
Town
Claremont, US

Padua Hills Theatre (1931-1974) was the longest running theater featuring Mexican-theme musicals in the United States. It operated as a non-profit business promoting intercultural understanding between European Americans and those of Mexican-descent. Padua Hills was a 2,000-acre tract of land directed by Bess Garner and Herman Garner. It was subdivided into a 6-acre artist colony called the Little Theater Association with a central dining room, artist studio, shops, and a small theatre. Located three miles north of Foothill Boulevard in the City of Claremont, the Spanish Revival buildings were nestled at the base of the mountains and surrounded by lush trees and shrubs. As described by the National Register of Historic Places, "The complex is situated on six acres of land and includes three buildings--a theater and restaurant building, an adjacent apartment, and a studio/residence--grouped around a central courtyard. The landscaping of olive trees and rock walls and curbing, along with an outdoor stage structure are contributing site features. A 'Padua Hills Theatre' sign with a pair of Mexican folk dancers and a life-sized statue of an Indian maiden add to the mood of the setting." The theatre was operated by the Padua Institute, a non-profit educational corporation. Offering courses in Mexican folk music, dance, and Spanish, the institute was advertised for its work in preserving the Spanish and Mexican heritage of early California. Although originating as a small community theater featuring the Claremont Community Players in the hills of Claremont in southern California, by the depression years Padua Hills featured dinner theatre by the "Mexican Players." The group presented plays, songs, and dances for theatre patrons from 1931 to 1974. Although performing in Spanish, the performances drew primarily an Anglo audience. These efforts were consistent with a larger move towards what has been called the Spanish Fantasy Past, a nostalgic remembering of a bygone pre-An